With the emergence of new media, a new way of storytelling becomes necessary. The
known structures of classic estheticism become obsolete when confronted with the
dispositions of the new broadcasted platforms. These so called platforms propel the plot
structure, allowing an expansion of the rigid narrative line : they integrate technology into
the logos. Intermediality becomes omnipresent ; the diverse media summoned in the
different projects are made visible and articulated through narrative work. Méchoulan
would talk about the « être-entre », the virtual space linking semantic units, that the
occurrence of thoughts convene ; Rodowick would refer to this same spatial concept as
« figural ». A particular figure then appears and seems to illustrate the workings of
intermediality: the labyrinth. In multiplying the narrative possibilities specific to new
media, the labyrinth interrelates the intermedial components. Bleeding Through : Layers
of Los Angeles 1920-1986, directed by Norman Klein, establishes the labyrinth as a
narrative backdrop to the intermedial practice. Herein, time is addressed as a
fragmented function that can be segmented, reorganized, thus breaking with classic
linearity. Subsequently, elements of Greek mythology tied to the labyrinth’s imaginary
are highlighted, particularly through Gervais’s reflexions on memory and forgetting. To
question the essence of the labyrinth’s figure, which infiltrates contemporary narration,
Bleeding Through is analyzed under the scope of these theories. In short, the labyrinth
is presented as an inherent figure to storytelling within the current media ecology.